Opinions about life and culture, A world view of a Woman Artist travelling from The Middle-east to Europe in the 80's, 90's and 2000/2019 ..... Autobiographycal Stories which have been published in the book "A Time For dreamers" (Austin Macauley Publishers) and some self published Stories on Kindle ( "Paris 2015" / "I Believe in You")
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From The Observer; "Women abstract artists dazzle in historic show "
Surface Work review – women abstract artists dazzle in historic show
5 /
5 stars
5 out of 5 stars.
Victoria Miro Mayfair and Wharf Road, London This
magnificent, century-spanning survey of abstract painting, all of it by
women, many of whom are unknown, is as poignant as it is momentous
There
are certain shows that change one’s sense of art. Surface Work is one
of them. Spread across two sites, it is nothing less than an anthology
of abstract painting spanning an entire century, from early
constructivism to post-digital sampling, in which every work holds its
own and every work is by a woman. This is a rare and historic event.
It is also clear proof, if more were needed, of the institutional
bias of the art world. So many of these women’s names are unfamiliar, so
many have been stinted, forgotten or ignored, that it is quite possible
to walk through rooms full of magnificent works without having heard of
their makers. Abstract painting, roughly as represented in British
museums, tends to run from Kandinsky, Malevich and Mondrian to Pollock,
Rothko and Barnett Newman, through to Richard Diebenkorn, Cy Twombly and
– if you’re very lucky – Joan Mitchell, an artist easily as great as Twombly yet appallingly neglected in this country. Bridget Riley and the ever-visible Yayoi Kusama are eminent exceptions too, and last year’s Russian Revolution shows
brought us the amazons of the avant garde as never before. But still
this show is guaranteed to surprise with its surge of artistic
revelations.
Hedda Sterne. Photograph: Gjon Mili/The Life Picture Collection/Getty Images
Hedda Sterne
(1910-2011), for instance, a Romanian-born painter associated with the
abstract expressionists in New York. Too associated, perhaps: she was
the only woman in an iconic photograph
of the so-called irascibles, including Pollock, Reinhardt, Motherwell
and de Kooning, co-signatories of a momentous letter objecting to the
aesthetic conservatism of the Metropolitan Museum of Art in 1950. This
singularity proved fateful. “I am known more for that darn photo,” she
once remarked, “than for 80 years of work.”
At Victoria Miro you can see one of Sterne’s most sublime works, in
which several horizontal bars, lavishly painted in glowing hues against a
variety of opalescent whites, creams and greys, rise in a storeyed
format above one another. Together they conjure repeating seashores
stretching away into the distance. Horizontals invoke horizons, almost
invariably, in abstract painting, and Sterne plays upon this romantic
tendency in the mind’s eye to imagine the beautiful impossibility of a
never-ending mirage.
Sterne showed at New York’s famous Betty Parsons Gallery, alongside
her fellow irascibles and many other American stars, from Joseph Cornell
to Jasper Johns. But Parsons (1900-82) was a considerable artist in her
own right. Anyone who associates her mainly with an unfailing eye for
new gifts might look at her own, in the lush and gorgeous End of Winter,
where soil-brown and deep green curves press against each other with
energetic force. As in life so in art: the world’s surface stirs with
new life.
I have never seen the art of Paule Vézelay,
one of Britain’s first abstract painters, who was born Marjorie
Watson-Williams in Bristol in 1892 but shed her humdrum English name on
an early trip to Paris. Silhouettes, painted there in 1938, is a
zany array of biomorphic forms, somewhere between planets, fruit and
exclamation marks, ultramarine and black against a pale ground so that
they dance abruptly on the eye. Vézelay was forced to leave the painting
behind at the outbreak of war; it was saved, but many others were lost.
Comment: I once found a bag near a shopping Mall in Paris .... It looked like a girl owned it because it was full of makeup bits and pieces and there were a lot of cards in it , one of which belonged to a buisness school and this had her name on it. The student was from Madagascar and i was sighing to myself when i called the school and the receptionist wasnt helpful in finding the person i was looking for. I went to the consolate or Embassy one morning , spending money on a Taxi in order to give the bag to a safe person working there. The consolate reminded me of consolates or embassies representing very poor countries ... .... where is all the money and wealth going ? SAMBAVA, Madagascar — Bright moonlight reflected off broad banana leaves, but it was still hard to see the blue twine laced through the undergrowth, a tripwire meant to send the unwary tumbling to the ground. “This is the way the thieves come,” sai...
arti visive street & urban art A Verona lo street artist Cibo combatte il fascismo e il razzismo con i murales By Valentina Poli - 31 luglio 2018 QUANDO L’ARTE PUÒ DAVVERO FARE LA DIFFERENZA NELLE NOSTRE CITTÀ: CIBO È UNO STREET ARTIST VERONESE, CLASSE 1982, CHE CON IL SUO LAVORO PROVA A CANCELLARE LE SCRITTE E I SIMBOLI D’ODIO CHE AFFOLLANO I MURI COPRENDOLE CON FRAGOLE, ANGURIE, MUFFIN E ALTRE COSE DA MANGIARE. LA SUA STORIA Lavoro dello street artist Cibo “Non lasciare spazio all’odio” o “No al fascismo. Sì alla cultura” e ancora “Se ci metto la faccia è perché ho la speranza che altri mi seguano nel rendere le città libere dall’odio e dai fascismi, qualsiasi bandiera portino oggi. Scendete in strada e non abbiate paura! La cultura e l’amore vincerà sempre su queste persone insipide!”. Queste sono alcune frasi che si possono leggere sul profilo Facebook di Pier Paolo Spinazzè , in ...
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